Sinister Street Compton Mackenzie (good novels to read in english .TXT) 📖

painter’s jargon that always seemed to apply equally to the subject and the medium. It was impossible to tell from Miss Vine’s question whether she referred to Stella’s figure or to Ayliffe’s expenditure upon paint.

“I don’t think it’s very like Stella,” Michael replied, and consoled himself for the absence of subtlety or cleverness in such an answer by the fact that at least it was a direct statement of what he thought.

“I know what you mean,” said Clarissa, nodding seriously.

Michael hoped that she did. He could not conceive an affirmation of personal opinion delivered more plainly.

“You mean he’s missed the other Stella,” said Clarissa.

Michael bowed remotely. He told himself that contradiction or even qualified agreement would be too dangerous a proceeding with a person of Clarissa’s unhumorous earnestness.

“I said so when I first saw it,” cried Clarissa triumphantly. “I said, ‘my god, George, you’ve only given us half of her!’ ”

Michael took a furtive glance at the portrait to see whether his initial impression of a full-length study had been correct, and, finding that it was, concluded Clarissa referred to some metaphysical conception of her own.

From the amplification of this he edged away by drawing attention to the splendor of the moon.

“I know what you mean,” said Clarissa. “But I like sunshine effects best.”

“I wasn’t really thinking about painting at that moment,” Michael observed, without remembering that all his mind was supposed to be occupied with it.

“You know you’re very paintable,” Clarissa went on. “I suppose you’ve sat to heaps of people. All the same, I wish you’d let me paint you. I should like to bring out an aspect I daresay lots of people have never noticed.”

Michael was not proof against this attack, and, despising the while his weak vanity, asked Clarissa what was the aspect.

“You’re very passionate, aren’t you?” she said, shaking Michael’s temperament in the thermometer of her thought.

“No; rather the reverse,” said Michael, as he irritably visualized himself in a tiger-skin careering across one of Clarissa’s florid canvases.

“All the same, I wish you would sit for me,” persisted Clarissa.

Michael made up his mind he must speak seriously to Stella about this friend of hers. It was really very unfair to involve him in this way with a provocative young paintress who, however clever she might be, was most obviously unsympathetic to him. What a pity Maurice Avery was not here! He would so enjoy skating on the thin ice of her thought. Yet ice was scarcely an appropriate metaphor to use in connection with her. There should be some parallel with strawberries to illustrate his notion of Clarissa, who was after all with her precious aspirations and constructive fingers a creature of the sun. Yet it was strange and rather depressing to think that English girls could never get any nearer to the Mænad than the evocation of the image of a farouche dairymaid.

All the time that Michael had been postulating these conclusions to himself, he had been mechanically shaking his head to Clarissa’s request. “What can you be thinking about?” she asked, and at the moment mere inquisitiveness unbalanced the solemnity of her search for truth. Stella had gone to the piano, and someone with clumsy hair was testing the pitch of his violin. So Michael assumed the portentous reverence of a listening amateur and tried to suggest by his attitude that he was beyond the range of Clarissa’s conversation. He did not know who had made the duet that was being played, nor did he greatly care, since, aside from his own participation in what it gave of unified emotion to the room, on its melodies he, as it were, voyaged from heart to heart of everyone present. There had been several moments during his talk with Clarissa when he had feared to see vanish that aureole with which he had encircled this gathering, that halo woven by the mist of his imagination and illuminated by the essential joy of the company. But now, when all were fused by the power of the music in a brilliance that actually pierced his apprehension with the sense of its positive being, Michael’s aureole gleamed with the same comparative reality. Traveling from heart to heart, he drew from each the deepdown sweetness which justified all that was extravagant in demeanor and dress, all that was flaunting in voice and gesture, all that was weak in achievement and ambition. Even Clarissa’s prematurity seemed transferred from the cause to the effect of her art, so that here and there some strain of music was strong enough to sustain her personality up to the very point of abandon at which her pictures aimed. As for George Ayliffe, Michael watching him was bound to acknowledge that, seen thus in repose with all the wandering weaknesses of his countenance temporarily held in check by the music, Stella’s affection for him was just intelligible. He might be said to possess now at least some of the graceful melancholy of a pierrot, and suddenly Michael divined that Ayliffe was much more in love with Stella than she was or ever could be in love with him. He realized that Ayliffe, with fixed eyes sitting back and absorbing her music, was aware of the hopelessness of his desire, aware it must be forever impossible for Stella to love him, as impossible as it was for him to paint a great portrait of her. Michael was sorry for Ayliffe because he knew that those anxious and hungry eyes of his were losing her continually even now in complexities that could never by him be unraveled, in depths that could never be plumbed.

More suggestive, however, than the individual listeners were the players themselves, so essentially typical were they of their respective instruments; and they were even something more than typical, for they did ultimately resemble them. The violinist must himself have answered in these harmonious wails to the lightest question addressed to him. His whole figure had surely that very look of obstinate surprise which belongs to a